‘Luther: Never Too Much’ Celebrates the R&B Giant’s Legacy

Luther: Never too much is scheduled to premiere on TV and streaming in 2025, but Luther Vandross fans and other R&B fans will do best to watch this music-filled documentary directed by the prolific Dawn Porter (John Lewis: Good problem) while it is playing in cinemas, on a big screen with big sound.

Among Luther’s true fans, some of whom will understandably feel compelled to sing along to the best parts of the film, one can sense the powerful currents of emotion conveyed through the late singer-songwriter’s voice and music. “I can’t think of anyone close to him,” says Mariah Carey, praising his tone, uniqueness and talent.

Carey’s affectionate praise for his vocal prowess is perfectly supported by footage of the pair performing their version of the duet “Endless Love” live on stage. Dionne Warwick explains that she loved that when Luther covered a song, he made it his own.

Mariah and Dionne, as well as other major interview subjects in the film, from Nile Rodgers to Luther co-producer Jamie Foxx appears in warm, well-shot solo footage to shed light on Luther’s qualities as a vocalist and tell behind-the-scenes stories.

His close circle of friends and colleagues, such as fellow singers Fonzie Thornton and Robin Clark, who toured with him and worked with him in the studio, offer a closer look at the work ethic that fueled his platinum-selling, Grammy-winning career. . But first, after a brief introduction to his superstardom, the film explores the singer’s origins as a kid in the Bronx, New York, who came of age in the 1960s.

“I was a Motown kid,” Luther tells the audience in the old clip before cutting abruptly to The Supremes’ performance of “You Can’t Hurry Love” on the channel. The Ed Sullivan Show. Porter and editor Mark Faison are predictable in their timing, but the performance footage is consistently well-chosen and insightful, especially in its references to the greats Luther studied as he developed his art and entered the business.

Perhaps the film’s strongest storytelling involves resurrecting lesser-known chapters of Luther’s early career, much of it told in his own words through television and radio interviews. Interspersed with contemporary interviews from friends Thornton and Clark, as well as Carlos Alomar, also a musician, Luther takes us back to the days of their first singing group, Listen My Brother, an uplifting ensemble dedicated to songs about youth and black people.

A successful relationship with Jim Henson leads to the fact that “Hark, My Brother” appears regularly on the series. Sesame Streetjust one of the pre-stardom gems that the documentary puts on display, such as lavish snippets of behind-the-scenes footage of a green young Luther working with David Bowie on the glam rocker’s 1975 soul album. Young Americans.

Starting with the album as a session backing singer, Luther’s contributions eventually also earned him credit for arranging the album’s vocals. These included “Fascination,” Bowie’s hit reworking of Luther’s “Funky Music,” a song he wrote for his short-lived band, also called Luther.

The film builds beautifully in this passage, mentioning the names of legendary artists and classic songs that Luther supported or wrote for his rise to the top, the commercials that made him rich, and his chart-topping breakthrough with the studio group Change. . Then, finally, in 1981, he debuted with his first solo album. Never too muchand, like a superhero, soared into the stratosphere.

Covering Luther’s superstar era through montages of trips to Oprah and Carson and similar television success, the film doesn’t venture too far beyond or within his personal life to capture his years of exuberance. However, Porter does capture Luther’s personal failures with a candid, if not intense, eye.

Quickly discussing, but not rehashing, Luther’s 1986 car crash that killed his passenger, 27-year-old West Hollywood resident Lawrence Salvemini, the film pays more attention to the star’s tormented relationship with his weight.

Luther had strong opinions about the fact that his detractors and admirers had such strong opinions about his weight and expressed them so loudly. Cut to a vintage clip of Cedric the Entertainer demonstrating his preference for Big Luther over Little Luther.

This debate is familiar to many Luther fans, as is speculation about the man’s sexual orientation, since he is known to have never had a public relationship. He opened up about his personal life in the clips shown here, revealing that his favorite song, “Any Love,” expressed his true self and his feeling that he had never found any great romantic love and may never find one. Human.

Regarding rumors that he might be gay, he stated in an interview: “I will neither deny nor confirm such rumors,” and then added: “Mind your own damn business.” He put it all into the music, he claims, and the film proves his point.

“His legacy will live on forever,” Warwick said at his 2005 memorial. Such is the power of love and great artistry.

Luther: Never too much (★★★☆☆) is playing in select theaters and will premiere on CNN, OWN and Max in 2025. Visit www.fandango.comor www.max.com.